Author: Michael

Posted in Album Reviews

Bill Ryder-Jones – lechyd Da (2024)

Posted on by Michael

Its been 16 years since Bill Ryder-Jones left the band The Coral and in that time he has carved out and impressive catalogue of solo albums.  His latest release, lechyd Da, came out almost a year ago to great critical acclaim. The personal album explores relationships and how one feels at their most vulnerable. On several tracks, Jones really captures the emotions of love and life in general.  

This is expressed on songs like “It’s Today Again” Jones sings, “There’s something great about life/But there’s something not quite right” or on “If Tomorrow Starts Without Me” with the line “I’ve a sense of shame when it feels alright”. Several songs are minimal with just piano or guitar but others like “Nothing To Be Done” are dramatically sweeping on a track where he seems resigned to fate.

“This Can’t Go On” is an atmospheric mini epic that could have been lifted from Mercury Rev’s classic Deserter’s Songs album. Throughout the self produced album, Bill Ryder-Jones is emotional but it never turns soppy. Instead it lets the listener peak into his emotions while reflecting on their own.

8/10

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The Cure – Songs Of A Lost World (2024)

Posted on by Michael

In 2023, Robert Smith and The Cure went out on an acclaimed tour of North America. This year the band released their 14th album and first in 16 years.  Songs Of A Lost World contains 10 songs, several of which contain lengthy opening instrumentals including first single, “Alone”.  It starts the album off in dramatic fashion with Jason Cooper’s prominent drums under greying skies as Smith sings, “this is the end of every song that we sing”.  That line sets the stage for the rest of the album.

Co-produced by Paul Corkett who has a lengthy list of producer and engineering credits to his name, Smith is also joined by longtime bass player Simon Gallop and Reeves Gabrels on guitar, making his first album appearance is a member of The Cure. The piano and keys of Roger O’Donnell play crucial roles in several songs including the bright synth of “And Nothing Is Forever” and “A Fragile Thing” whose passages are connected through piano lines.

A couple noisier rock songs appear before “I Can Never Say Goodbye” returns the atmosphere to the melodic fog on a track about Smith’s brother who passed away.  “All I Ever Am” updates The Cure sounds for 2024 before the album closes with “Endsong”.  The 10 minute track has a hypnotic quality as Smith sings, “I’m outside in the dark, wondering how I got so old”. A feeling that many of his fans will identify with.  After the lengthy recording hiatus, Robert Smith has returned with a moody and atmospheric album capturing both holding on to love and losing it as we drift into the darkness of winter.

8/10

Posted in Album Reviews

Bob Dylan and The Band – Before The Flood (1974)

Posted on by Michael

After finishing the album Planet Waves, Bob Dylan and The Band headed out on tour of North American hockey arenas in early 1974.  Before the Flood collects a double album of tracks mostly from the final three shows in Inglewood, California.  The release sees both artists sharing the spotlight with The Band taking the lead on eight of the albums 21 songs. Several of Dylan’s songs appear in alternate forms from their originals.

In later years Dylan would reportedly complain that the only compliment he would receive about the shows were ones about the energy.  The well meaning compliment is spot on – opener “Most Likely You Go Your Way” from the classic album Blonde on Blonde really gets things moving before top 10 hit “Lay Lady Lay” is performed. The energy shifts with the one track taken from a New York show with “Knockin’ On Heaven’s Door” that brings a heavier atmosphere than the rest of the side. Side 2 sees The Band turn in a funky groove on their classic “Up On Cripple Creek” and a beautifully soulful version of “The Night they Drove Old Dixie Down”.

The second album opens with Dylan playing an acoustic set with sped up versions of “Don’t Think Twice, It’s Alright” that the crowd really appreciates and “It’s Alright Ma (I’m Only Bleeding)”.  These two tracks + a countrified rock version of “Blowin’ In The Wind” take the Dylan sound out of folk rooms and onto the massive arena stage. “Like a Rolling Stone” appears as a groove laden country take on the incendiary classic.  The drumming of Levon Helm steals the spotlight away from the original’s organ. Both versions work.  Along with these Dylan songs, The Band turn in a vocally rough and ready version of “The Weight” that really swings + the upbeat “The Shape I’m In” from their Stage Fright album.

Years ago, there was a commercial that aired on MuchMusic that showed Bob Dylan mumbling through a song in concert. It was an amusing commercial but that is far from what Dylan sounds like here. His vocals are clear and the different arrangements on several of the tracks work really well to give a different flavour of his sound. The Band locks into grooves and really swing throughout.  A great live album of two legends.

8/10

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Jessica Pratt – Here In The Pitch (2024)

Posted on by Michael

Here In The Pitch, the fourth album from Californian Jessica Pratt sounds like it was beamed in from a 1960s space age country lounge.  Pratt sounds a bit like a British, blue-eyed soul singer on “Empires Never Know” over a dreamy, otherworldy piano.  An acoustic guitar and spacey sounds swirl in the mix of “Get Your Head Out” while “By Hook Or By Crook” has a slight bossa nova feel.  “World On A String” simply floats on air.

Highlights book end the album. The single, “Life Is” has Phil Spector levels of drama in every bass drum kick while Pratt softly sings, “when you’ve fallen out, get both feet on the ground”.  Here In The Pitch closes with the sweet sentiments of “The Last Year”.  “I think it’s gonna be fine/I think we’re gonna be together/And the storyline goes forever”.  A truly wonderful record.

9/10

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Idles – TANGK (2024)

Posted on by Michael

It doesn’t take long for Idles to ratchet up the tension on their fifth album, TANGK.  Bass drum and piano start “Idea 01”, an intense song about family and what can be lost in the fire. “Monolith” closes the album in much the same way.  There is a quiet intensity to the minimal track that closes with a jazzy saxophone. In between, the band from Bristol lead by frontman Joe Talbot unleash a rage of love both quiet and loud in equal measure on an album produced by Nigel Godrich.

“Gift Horse” has a bit of a Sleaford Mods vibe and a chorus that lights up a fire of excitement. “My baby, she, she’s so great/I wake up grateful every day” – a hidden love song to a daughter.  The LCD Soundsystem collaboration “Dancer” is a heckuva tune to jump around to, the vibe continues on “Hall and Oates” that brings the noise like a heavier 90s indie rock track.  Sandwiched between those tracks is the sweetness of “Grace” set over a low-end rumble.  All is love, “Make me pure” is the message that is spread over much of the very good TANGK.

8/10